Scored for strings and four percussionists, its three movements take in a host of musical styles, from Bernstein’s rhythmic intensity in the first – the movement is based on a motive from West Side Story’s, The Rumble– to folk melodies in the second, and a Vaughan Williams string sound in the third. This displayed impressive scope from the young composer, but the music’s fickleness did, at times, challenge the sense of unity within the work.

Soloist, Teodor Valentin Iliescu, was excellent, taking the instrument on a full tour of its range. He articulated the work’s virtuostic passages brilliantly.

Balance between the strings and brass had been an issue for Wagner’s Die Meistersingeroverture and Liszt’s symphonic poem, Orpheus. But these problems vanished in Beethoven’s seventh symphony.

Sentimentality was not on conductor David Trippett’s agenda, holding the pieces’ final chords only very briefly, and walking quickly to and from the platform.

But his approach was effective in the symphony, an impressive piece to programme and even more so to perform with the dynamism, energy and drama with which it was given.